Rome catacombs. Roman catacombs - mysteries of underground tombs

The first Roman catacombs catacombs were formed from single burials in family cemeteries and in the crypts of wealthy Romans, from where the early Christians began to make mines, cut through corridors and equip burial niches.

THE LAST SHELTER OF THE EARLY CHRISTIANS

For three centuries, with incredible patience, the early Christians of pagan Rome carved hundreds of thousands of niches into the stone foundations of the capital of the empire for the burial of their dead.

Roman catacombs - burial places, mainly during the period of early Christianity - are located along Roman roads, in places traditionally reserved for necropolises: the fact is that the law forbade burial inside the city walls, so Roman roads for hundreds of years took on the character of cemeteries - at first pagan with mausoleums and columbariums, and in the first centuries of our era - Christian, in the form of catacombs. The largest concentration of these underground cemeteries lies in the lowland along the Appian Way between the Church of St. Sebastian (often referred to as the “Temple of Sebastian-on-the-Catacombs”) and the circus of Maxentius. Starting from the IV century. the Christian cemetery near this place was called the "Cemetery in the Catacombs" (Coemeterium ad Catacumbas).

The first Roman catacombs are known from pre-Christian times, such as the Jewish catacombs on the Appian Way. There is controversy regarding the origin of the catacombs. Some argue that these are the remains of ancient quarries, where potzzolan clay was mined. Others insist that the Roman catacombs were originally created as a Christian necropolis. The width of the corridors is given as proof: they are so narrow that they are unsuitable for mining anything.

The earliest tombs appeared in the catacombs of Domitilla and Priscilla.

The catacombs of Domitilla are the largest in Rome. The first - still pagan - burials belong to the 1st century, in the 2nd century. the territory of these catacombs expanded and became an exclusively Christian burial place. In the III-IV centuries. the catacombs of Domitilla grew up to 4 floors, 5 m high each.

Three-level burials in the catacombs of Priscilla date back to the 2nd-5th centuries. These catacombs became famous for the fact that seven popes were buried here, among them Saint Sylvester I, to whom, according to legend, Emperor Constantine transferred power over the western half of the Roman Empire.

Domitilla and Priscilla are martyrs of the early Christian era. After these names of the catacombs were established among the people, a tradition developed, and other catacombs began to be called by the names of the holy martyrs.

The popular belief that the Roman catacombs were a hiding place for early Christians persecuted by pagans has long been refuted. This would have been impossible: all the entrances and exits from the catacombs, as well as their internal structure, were well known to the Roman authorities. Moreover, even today it is clear that the entrances to the catacombs lead to wide stairs, and from there - straight into the labyrinth.

4th century became the century of the maximum expansion of the catacombs and ... their decline.

After Emperor Constantine the Great (272-337) proclaimed Christianity the dominant religion of Rome, the persecution of Christians also ceased. The catacombs lost their significance, and ordinary cemeteries began to be used for burial. But, having lost their original purpose, the catacombs turned into a place of pilgrimage: after all, the ashes of many martyrs rested here. Pilgrims left behind a lot of images and inscriptions, which currently have great cultural and historical value.

When Rome was attacked by the Goths of Alaric in 410 and then by the Vandals in 455, they also plundered the catacombs. After the Goths, ordinary townspeople also took up the plundering of the catacombs. To stop the looting, in the VIII-IX centuries. most of the remains of martyrs and saints were transferred from the catacombs to the churches within the city.

In the future, only single researchers showed interest in the catacombs. Only in the 19th century a systematic study of the catacombs began, which was facilitated by the establishment in 1925 by Pope Pius XI of the Institute of Christian Archeology under the pontiff. Since 1929, the Pontifical Commission for Sacred Archeology has been studying the catacombs.

FROM LOCULUS TO ARKOSOL IUM

These Latin words denote various types of burials in the catacombs, made depending on the material condition and social status of the deceased during his lifetime.

Today, about 50 catacombs have been discovered in the vicinity of Rome. Most often, the opening of the catacombs happened by accident, when people or grazing cattle fell into underground voids. Sometimes this discovery was the result of targeted research based on the study of "itinerarii" - descriptions of the travels of the first pilgrims who visited the burial places of martyrs in the period from the 4th to the 13th century, when this genre of Latin Christian literature fell out of favor.

All the catacombs are carved into porous volcanic tuff, which is typical for the environs of Rome.

There are small catacombs, such as those found in 1956 on Via Latina, one of the oldest Roman roads. The largest are the catacombs of Domitilla and St. Callistus - an intricate labyrinth of corridors about 20 km long on four levels, where up to 170 thousand burials are concentrated.

We can only speak about the total length of the Roman catacombs: more or less explored and covered up to 150 km, presumably the length of the galleries is about a thousand kilometers.

Corridors and galleries are sometimes so narrow that you can hardly get through them. The ceiling of the corridors is always flat, sometimes with a slight vault.

Historians believe that there are several million burials in the Roman catacombs, while up to 800 thousand have been found in separate burial chambers.

In early antiquity, burial structures were in the form of a primitive loculus - a rectangular niche the length of a human body, made perpendicular to the wall of a corridor or crypt and laid with a clay or marble slab, on which the name of the deceased and a pious epitaph were carved or applied with paint: "Rest in peace", " May the Lord be with you." Sometimes the niche was sealed with a coin imprint on fresh mortar. Niches, located in 3-7 tiers, formed an extensive system of galleries. An even simpler way of burial is forma - a recess in the floor of the corridor.

Wealthy people were buried in the sepulcrum a mensa, or “dining tomb,” a rectangular niche carved into the wall with a recess in the floor, as well as in the arcosolium, a tomb with an arched entrance. If the family of the deceased could afford it, the deceased was buried in an expensive marble solium (sarcophagus) and a separate crypt-crypt.

When the Christian community grew, numerous believers began to gather at such burials, some crypts had to be expanded, the vault was raised and several were combined into one, forming chapels for worship.

All these galleries and corridors are located on several levels (floors) connected by stone steps.

Burials in the catacombs are not only Christian, but also Jewish and syncretic, which are difficult to attribute to a particular religion. This reflects the difficult process of forming a monotheistic worldview.

The usual plots of the frescoes of the catacomb prayer rooms are plots of stories from the Old and New Testaments: Daniel in the den with lions, the Virgin Mary on the throne, the Magi, Christ and the apostles. And everywhere - early Christian symbols: fish, lamb, anchor and dove. There are also secular themes that are unthinkable in later "above-ground" temples: for example, scenes in the market.

All drawings are monuments of late antique and partly early medieval art.

ATTRACTIONS

Catacombs (most famous):

■ Jewish (under Villa Torlonia and Vigna Randanini, 50 BC),

■ Syncretic (I century BC).

■ Christian (St. Sebastian, Domitilla, Priscilla, St. Agnes, St. Callistus, on Via Latina, I-IV centuries).

Historical:

■ Suburbs at the Aurelian Wall.

■ Appian Way (312 BC).

■ Via Latina (V-IV centuries BC).

■ Circus Maxentius (309).

Iconic:

■ Church of San Sebastian Fuori le Mura (St. Sebastian, 340),

■ Basilica of Santi Nereo e Achilleo (IV century).

■ Basilica of San Agnese Fuori le Mura (342).

■ The word "catacombs" in translation from Latin literally means "underground room", and they are not a creation of nature, but the work of man. Only with time did they begin to call any labyrinths, both of natural origin, and cut by man in an underground stone massif, including for mining. The original meaning of this word is a dungeon appointed for the burial of the dead, assemblies of early Christians for the secret performance of worship and salvation from persecution by the pagan authorities of Rome.
■ In addition to Rome, large catacombs - Christian necropolises - were built in the Italian cities of Naples and Syracuse, as well as in Alexandria (), Pech (), on the island and in the Kiev-Pechersk Lavra (Kiev,).
■ In terms of construction, the catacombs were created in the same way as mines, with the calculated height of the drifts, the arrangement of vertical supports, and even the ventilation system and light shafts-luminariums. The catacombs were cut through by fossors (diggers), united in the likeness of the current trade union. The work of the Fossors was very hard, while they occupied the lowest rung in the hierarchical structure of the early Christian community. On some frescoes in the catacombs, images of fossors in construction clothes and with a working tool in their hands have been preserved.
■ The Parisian catacombs, although they are called as such, are actually old quarries. They were not built specifically for burial purposes, and the millions of bones collected in them were from the abolished city cemeteries and graves that surrounded churches destroyed at different times.
■ Initially, the underground burials of Christians in Rome were named in the Roman manner - cemeteria, hypogea or area. The name "catacombs" appeared for the first time in the 4th century. in relation to the caemeteria of St. Sebastian, and was assigned to them only in the 9th century.
■ Catacomb burials of Christians resembled Jewish burials in almost every detail, and contemporaries did not see any difference between them.
■ Separate scenes from Alexandre Dumas père's novel The Count of Monte Cristo take place in the catacombs of St. Sebastian, where Monte Cristo and Franz d'Epinay rescue Albert de Morser, captured by robbers. The writer was not far from the truth: in the XIX century. Anyone could walk around the Roman catacombs.
■ In accordance with a paragraph of the Lateran Agreements (treaties on relations between Italy and the Vatican of 1929), the catacombs under the Vatican became part of the territory of the Papal States.
■ Of the 47 Roman catacombs, only five are open to the public. Thus, the country's authorities are trying to protect the fragile historical heritage and show respect for the deceased.

GENERAL INFORMATION

Location: Rome, .
First burials: 1st c.
Language: Italian.
Ethnic composition: Italians.
Religion: Catholicism.
Monetary unit: euro.

NUMBERS

Number of catacombs: 47.
The length of the galleries: 100-150 km (probably over 1000 km).
Burials: 600-800 thousand

CLIMATE

Subtropical Mediterranean.
Average January temperature: +8°С.
Average July temperature: +24°С.
Average annual rainfall: 660 mm.

There are over 60 catacombs in Rome. This is a system of underground passages, often reminiscent of labyrinths. Wall frescoes in the catacombs are optimistic and filled with faith in resurrection. Peace and tranquility reign here.

Catacombs of St. Agnes

Catacombs of Domitilla

Catacombs of St. Sebastian

Villa Torlonia

Catacombs on Via Latina

Hypogeum of Vibia

Catacombs Ad Decimum

Christian catacombs

The oldest Christian catacombs date back to around 107 AD. The early Roman Christians were persecuted. To perform rituals and bury the dead according to religious canons, believers used abandoned tuff quarries.

Christians felt safe in the dungeons. They arranged chapels and burial chambers, dug new labyrinths, expanded existing corridors, made niches in their walls. The width of the underground passages was about 1–1.5 m; the height reached 2.5 m. Niche-tombs were arranged on both sides of the corridors, in several tiers. One or more bodies were placed in each recess, then the tombs were walled up with bricks and stone slabs. Exits and ventilation shafts opened from the dungeons to the streets of Rome.

From 312, by the will of Emperor Constantine, Christianity was declared a legal religion, and the persecution of believers ceased. The catacombs became official and revered burial places. By the 5th century, they stopped burying underground, and even many of the remains were transferred to the churches of Rome, the Roman labyrinths fell into disrepair and were forgotten for a long time.

Catacombs of Priscilla

Catacombs of Saint Callistus

In the underground square "Little Vatican" 9 popes, who led the church in the 3rd century, rested in peace (in total, 16 pontiffs and more than 50 holy martyrs were buried in San Callisto). The most visited place in the catacombs is the crypt of Santa Cecilia - the tomb of the holy martyr Cecilia with well-preserved reliefs, frescoes and mosaics.

The total length of the San Callisto underground corridors available today is about 20 kilometers. Archaeological research has been carried out since the middle of the 19th century, and not all burials have been discovered so far.

How to get there

The entrance to the catacombs of San Callisto is located at: Via Appia Antica, 110/126.

From Termini station you need to go:

• Metro A (direction Anagnina) or bus 714 (direction Palazzo Sport) to Piazza di S. Giovanni in Laterano. Then take bus 218 to stop Fosse Ardeatine;
• Take metro B (direction Laurentina) to the Circo Massimo stop.
  From the Circo Massimo stop or from the Terme Caracalla/Porta Capena stop, take bus 118 (direction Villa Dei Quintili) to the Catacombe di San Callisto stop.

Working hours

Thu-Tue 09:00 - 12:00 and 14:00 - 17:00.

The complex of the catacombs of St. Callistus was formed during the 2nd-4th centuries on the basis of several pre-existing burial zones, which gradually expanded and merged into a single network by the end of the 4th century. Among the primary base cemeteries, one can mention the Catacombs of Callistus proper, as well as the crypt of Lucina, Saint Mark's cemetery, Marcellina, Damasia And Balbins. Initially, the territory of the future catacombs was in private hands, then the owners of the lands, having become Christians, transferred their possessions to the church.

The decision to build a cemetery here for all members of the Christian community of Rome belongs to the Roman Bishop Zephyrinus. The organization and management of the burial complex was entrusted to the deacon Callistus. The duties of Callistus were charged with a worthy burial of every deceased Christian, while the funeral of the poor was carried out at the expense of the church. Callistus, who became his successor after the death of Zephyrinus, significantly expanded and improved the catacombs during his pontificate, so that in the church consciousness this burial complex is closely associated with the name of Callistus.

The most ancient parts of the Callist catacombs are the crypt of Lucina and sections, including the crypt of the Popes, the crypt of St. Cecilia, the cubes of the Holy Mysteries. At the end of the 3rd century, the sections of St. Gaius and St. Eusebius were added to them, and in the second half of the 4th century, St. Liberius.

The catacombs have played a dual role in the life of the church community since their inception. On the one hand, it was a cemetery where every Christian could be properly buried, on the other hand, the catacombs become a place of pilgrimage to the tombs of revered martyrs. In accordance with tradition, on the days of the memory of the martyrs (mainly on the days of their martyrdom - birth into eternal life), a liturgy was performed on their tombs, and martyrdom- Narratives of their heroic witness for Christ. People came to the tombs of the martyrs on other days, and numerous graffiti - prayer appeals to the saints on the walls of the catacombs testify to these private pilgrimages. In the 4th century, the underground cemetery was decorated by Pope Damasius, who also wrote numerous poetic epitaphs placed in the most important places in the catacombs.

Saint Anter (235-236) - the successor of the previous one, who spent 43 days of his short pontificate in prison.

Saint Fabian (236-250) - after a long pontificate, which fell on a period of religious tolerance, was beheaded during the persecution of Decius. Some of the relics are in the church of San Martino ai Monti, the other is in.

Saint Lucius I (253-254) - was exiled to Civitavecchia, where he died. The relics are in the church.

Saint Sixtus II (257-258) - was executed during the persecution of Valerian. His martyrdom was directly connected with the catacombs: here he was arrested during Divine Liturgy and, after a short trial, was executed with four deacons on August 6, 258. Another of his deacon Saint Lawrence is one of the most famous Roman martyrs. The relics of Saint Sixtus rest in the church of San Sisto Vecchio (opposite)

Saint Eutyches (275-283) is the last of the nine popes buried in this crypt.

In addition to these popes, Saints Stephen I (254-257), Dionysius (259-268) (the relics of both rest in) and Felix I (269-274) were buried in the crypt.

On the right wall of the crypt, two excerpts from a poem by Pope Damasius dedicated to the martyrdom of Sixtus II have been preserved. On behalf of Sixtus II, the author says: At the time when the sword pierced the womb of the Mother (Church), I, buried here, was a shepherd and teacher of the Word of God. When all of a sudden the warriors burst in here and dragged me from the pulpit, all the faithful bowed their heads under the sword. But the shepherd, seeing that others were ready to take away the palm (of martyrdom) from him, he himself was the first to offer his head, not wanting the rage (of the pagans) to destroy the flock.»

Crypt of Saint Cecilia

The ripta is a vast room, in the niche of the left wall of which was the sarcophagus of St. Cecilia. The tomb remained untouched until the pontificate of Paschal I, who wished to transfer the relics of the saint to Rome. A long search in the catacombs abandoned by that time did not give a result. According to legend, the weary Paschal asked Caecilia, who appeared to him in a dream, about the location of her relics. In response, Cecilia indicated this place, saying that only one wall separated the pope from the tomb. After this vision, Paschal I found the relics of the saint and transferred them to the Roman church. During the reconstruction of the church in 1599, the sarcophagus was opened, and those present were convinced of the perfect incorruptibility of the saint's body. Stefano Maderno, a witness to the last event, created a statue of Saint Cecilia, depicting her body as he saw it when opening the sarcophagus. A copy of this sculpture is placed in the crypt (the original is in Santa Cecilia in Trastevere). The head of the saint, wrapped in cloth, is cut off from the body, three fingers of the right hand are folded with a pinch, the fingers of the left hand, with the exception of one, are clenched into a fist. It is traditionally believed that with such a folding of her fingers, the saint demonstrated to the executioners her faith in the One God and the Holy Trinity.

In the crypt, several frescoes have been preserved dating back no later than the turn of the 8th-9th centuries. Among them are Christ Pantokrator, Saint Cecilia "Oranta", Holy Martyr Pope Urban I. On the vaults of the crypt there is an image of a cross between two lambs and three Roman martyrs Polikama, Sebastian and Quirina. Several grave Greek inscriptions have also been preserved in the crypt, including those of a senator Septimius Frontona(late 3rd century).

Mystery Cubicles

The ubicles of the Holy Mysteries are five sequentially arranged cubes intended for the burial of members of the same family. The walls of the cubicles are decorated with well-preserved frescoes from the beginning of the 3rd century, symbolically depicting the sacraments of baptism and the Eucharist, as well as the future common resurrection.

The sacrament of baptism is symbolically represented in the frescoes depicting Moses cutting a rock with his rod, the baptism of Christ in e, a fisherman, a Samaritan woman at the well, and Bethesda relaxed at the pool. Here is also the oldest image of the actual baptism known today: the presbyter in a tunic and pallium lays his hand on the head of the person being baptized, standing in a stream of water.

In several cubicles, the sacrament of the Eucharist is symbolically represented in the miraculous multiplication of loaves. The plot of all the frescoes is the same: seven sit around a table on which there are two or three dishes of bread, and several more baskets of bread are placed next to the table. In addition to the gospel story itself, these frescoes are notable for the fact that they depict the Eucharistic practice of the first Christians.

In all cubes there is an image of Jonah saved from the belly of a big fish. The three-day stay of Jonah in the belly of the whale directly marks the three-day resurrection of Christ, as well as the general resurrection. In addition, Jonah, with his sermon, persuaded sinners to repentance, which reminded Christians buried here and coming here of their pagan past and salvation through repentance and faith in Christ.

The frescoes of the cubes preserved the ideas of Christians of the first centuries about the Christian life. For all of them, it began in baptism, continued in uninterrupted Eucharistic communion, and led to eternal life in Christ.

Behind the cubicles begins the Staircase of the Martyrs, cut down at the end of the 2nd century, that is, even before the decision of Pope Zephyrinus to equip a communal cemetery in the catacombs. The staircase got its name from the fact that, as is commonly believed, funeral processions descended into the catacombs with the bodies of murdered popes.

Section of Saint Miltiades

The Liction of St. Miltiades, adjacent to the cubicles of the Sacraments, was created in the second half of the 2nd century. With its help, the section containing the crypts of the popes and St. Cecilia is connected to the crypt of Lucina, in which another pope-martyr Cornelius was buried. Since this route was regularly used by pilgrims, the main corridor of this section is quite wide, and in some places reaches a height of 7 meters.

On the left wall of the corridor, numerous images, beloved by ancient Christians, have been preserved, including: a dove (a symbol of the Holy Spirit), monograms with the name of Christ, a fish (ichthys is an abbreviation of the Greek words: "Jesus Christ, God's Son, Savior"), (a symbol of faith ), a bird drinking from a cup (a soul finding comfort in God). Here, assimilated and rethought by Christians, is the image of a phoenix in the radiance of rays, symbolizing transient, temporary death in the flesh and eternal life in Christ. Above one of the arcosolia, there is an image of the girl Irina buried here in the pose of Orant and a dove soaring above her.

Of the numerous crypts and cubicles in this section, the following stand out:

- Crypt of Saint Miltiades, in which Miltiades, the last of the popes buried in the catacombs of St. Callistus, was buried,

- Crypt of the Four Seasons- the frescoes symbolically represent the four seasons and thus symbolize the unceasing eternal life,

- Cubicula Aquilina- the gravestone inscription “Aquilina dormit in pace” has been preserved here, that is, “Aquilina will rest in peace”,

- ocean crypt- the fresco depicts a personified ocean, reminding Christians of the all-encompassing eternal life,

- crypt of sarcophagi with two well-preserved sarcophagi.

Here is located cubicle Sophronia, so named thanks to two graffiti containing this name and preserved here. Two more inscriptions with the name of Sophronia exist in the corridor adjacent to the crypt of the popes. All four inscriptions form an expressive row: " May Sophronia rest with the saints», « Sophronia in the Lord», « Dear Sophronia, you will live forever in God», « Yes, Sophronia, you will live forever».

Sections closed to visitors

Most of the catacombs of St. Callistus are still closed to visitors. However, there are a number of important rooms in the enclosed sections.

Sections of Saint Gaius and Saint Eusebius

The Ripta of St. Gaius stands out for its exceptional dimensions for the catacombs. It can accommodate up to 60 people at the same time. It is assumed that the crypt was originally built for public worship in it. The walls of the crypt are covered with white plaster.

In the center of the crypt there is a large tomb of Pope Gaius, on which fragments of the Greek inscription "Burial of Gaius, Bishop, April 22" (296 years) have been preserved. In the walls of the crypt are burial niches - arcosolia, in the floor - forms. Among the graffiti preserved on the walls, there is a mention of a visit to the crypt by three African bishops who wanted to venerate the relics of their compatriot, Saint Optatus. Perhaps the latter was also buried in this crypt.

The rectangular crypt of St. Eusebius is located opposite the crypt of St. Gaius. It is smaller than the latter, but more luxuriously decorated - the floor and walls are lined with marble slabs. There are three tombs in the crypt. arcosolia. In one of them was placed the body of Pope Eusebius, who died in Sicily. The arch covering the tomb of the pope was decorated with mosaics, and the epitaph of Pope Damasius, glorifying his predecessor, was carved on the slab covering the tomb. In the center of the crypt there is another marble slab with the same epitaph to Eusebius, and on the reverse side, a previously carved praise to the emperor Caracalla has been preserved. Probably, the slab was brought here by order of Damasius from one of the pagan temples of Rome.

Epitaph Damasius glorifies Eusebius for his mercy to lapsi, that is, the fallen - Christians who renounced the faith during persecution. When the persecution ended, the fallen ones asked the Church to take them back into fellowship. Some of the zealots of the faith, led by presbyter Heraclius, opposed the forgiveness of the apostates. Eusebius, pointing to Christ, who always forgives the penitent, taught about the need to forgive the fallen and accept them into church communion after they have brought due repentance. The intra-church discussion turned into a conflict, and the emperor Maxentius, without analyzing the right and the wrong, sent the leaders of both parties from Rome. Pope Eusebius was exiled to Sicily and starved to death there. Soon the body of Eusebius was transferred by his successor Miltiades from the catacombs of San Giovanni to the Roman catacombs of St. Callistus. The epitaph of Damasius reads: Heraclius did not allow the fallen to repent for their sins. But Eusebius taught these unfortunates to mourn their guilt. Out of the inflamed anger of the people, divided into two parties, there were riots, murders, war, disagreements, clashes, and then the tyrant sent them (that is, Eusebius and Heraclius) both. The High Priest, who desired peace and harmony, calmly endured exile, awaiting Divine judgment, left this world and earthly lives on the Sicilian shores».

Following the crypt of St. Eusebius, the gallery leads to the crypt of the martyrs calocera(Lat. Calocerrus) and Parthenia who died in 304 during the persecution of Diocletian. Graffiti on the wall indicates the names of those lying here: "PARTEN(i) MARTIRI" and "CALO(c)ERI MARTIRI. The pilgrims prayed in a special room adjoining the crypt of the martyrs.

The cube of the five saints is named after a well-preserved fresco representing five people in the Oranta pose. The saints are depicted in a garden surrounded by birds, flowering and fruiting trees. All five are named: Dionisia in pace, Nemesius in pace, Procopius in pace, Eliodora in pace, Zoe in pace». Researchers attribute the fresco to the beginning of the 4th century.

The double cubicle of the deacon Severus refers to the pontificate of Marcellinus (296-304). The inscription on the marble slab covering the arcosolium reads: Deacon Severus, with the permission of Pope Marcellinus(lat. PP Marcellinus), arranged a double cube with an arcosolium and a light shaft, as a calm and peaceful place of rest for himself and his family, ... resting and waiting for God, their Creator and Judge ...» Giving praise to his young daughter Severa, the deacon continues: « Her earthly body is buried here, waiting for the day He will raise her up. And the Lord, who called her chaste, pure and undamaged soul... will return her, adorned with eternal glory. She lived nine years, eleven months and fifteen days.»

This inscription confirms the confidence of the ancient Christians in the future resurrection. The historical value of this inscription lies in the fact that it mentions for the first time the title of the Roman bishops - pope (in the abbreviation PP, often used by the current pontiffs).

The cubicle of sheep is decorated with frescoes from the middle of the 4th century. In the center of the arcosolium is depicted the Good Shepherd, surrounded by sheep, carrying a lamb on his shoulders. On either side of the Shepherd, two men go to the springs flowing from the rock, thus depicting Christians drinking the water of life in heavenly abodes. On the left wall, Jesus blesses the loaves and fish offered to Him by the two apostles. On the right wall, Moses is depicted reverently taking off his shoes. Next to Moses there is a fresco with an unexpected plot: the Apostle Peter cuts water from a rock, and a Roman legionnaire quenches his thirst from the resulting spring. The traits of Peter and Moses are deliberately made similar: like Moses, who quenched the thirst of the ancient Jews, Peter gave to drink the true faith of the believing pagans.

Western section

The western section arose at the beginning of the 4th century and is filled with burials of the era when the persecution of Christians ended. In this regard, this part of the catacombs was not used for worship. Among the numerous cubicles, one stands out - with a domed vault, containing 50 burials.

In one of the arcosolia, a cycle of heavily damaged frescoes dedicated to the Virgin was found. The best preserved fresco is the Adoration of the Magi.

Section Liveria

Ektion Livery - the northern part of the catacombs of St. Callistus, created in the second half of the 4th century. Three tomb inscriptions discovered here by de Rossi link this part of the catacombs with Pope Liberius the Confessor (352-366). The main feature of this section is a significant number of spacious cubicles, decorated with columns or pilasters. Among the few surviving frescoes are Christ Pantocrator, and Eve with the serpent tempting them, Susanna and the elders.

Most of the 2,378 gravestone inscriptions found in the catacombs of St. Callistus fall precisely on the Livery section. This section contains indications not only of the name, but also of the profession and status of the buried person, such as: Dionysius, physician and presbyter, Aurelius Aurelian, centurion of the 5th cohort, Gorgonius, teacher, Valery Pardus, gardener, Puteolanus, sculptor, Redemptus, deacon, Annius Innocent, apostolic nuncio etc.

Crypt of Lucina

"Crypt of Lucina , which arose in the second half of the 2nd century, is one of the earliest underground cemeteries not originally associated with the catacombs of St. Callistus. Archaeologists gave it this name, linking it to an entry in the Liber Pontificalis about Pope Cornelius: “ Blessed Lucina ... took the body of St. Cornelius at night in order to bury him in a crypt dug out in her estate, not far from the Catacombs of Callistus on the Appian Way, September 14 ". Cornelius was exiled to Civitavecchia, where he died in prison in June 255.

The crypt consists of two hypogees, formed from several cubicles connected by galleries, and has two staircases leading up. Only at the end of the 4th century the crypt of Lucina was connected by an underground tunnel with the catacombs of St. Callistus so that pilgrims could visit the tomb of Pope Cornelius.

The body of the pope was buried in one of the hypogees. The niche with his body was closed by a preserved marble slab with the inscription CORNELIUS MARTYR EP (iscopus). To the left of the tomb is a fresco depicting Pope Sixtus II and the martyr Optatus, above the tomb - Cornelius himself and his contemporary martyr Cyprian of Carthage. All four are depicted in episcopal robes, with the Gospel in their hands, and a martyr's crown over their heads.

In the adjacent rooms there are frescoes representing the Baptism of the Lord, Daniel in the lions' den, plots from the book of Jonah, the Good Shepherd, as well as a symbolic image of the Eucharist - fish, baskets of bread and a cup of red wine.

The many-faced Rome, numbering several millennia, is the most mysterious city in Italy, in which the pages of a historical novel come to life. The capital, which has been created for centuries, where the past, present and future are harmoniously combined, surprises with a huge number of unique objects that have made it a real open-air museum. The historical and cultural heritage of the Eternal City is available to tourists who make an exciting journey into ancient times and get acquainted with the pearl of Italy, which has preserved Christian shrines.

Catacombe di Roma

Not only Orthodox pilgrims, but also all vacationers, eager to discover something new and unknown, the roads will lead to the underground catacombs of Rome, which are an extensive network of tufa labyrinths, in the walls of which niches for burials are carved. Multi-level galleries encircling the space under the capital of the country arose in the pre-Christian era. Pagan, Saracen and Jewish catacombs are known, and in total, scientists have discovered more than 60 underground labyrinths and about 750 thousand crypts.

Most of them appeared in the early Christian era, and the very first galleries were created in 107 AD. and his students found loyal followers among people of various social strata. The first Christians of Rome were often persecuted, as the emperor demanded that only he be recognized as a god, and the adherents of the new religion revered the one and only Christ.

Catacombs intended for burials

Previously, there was an opinion that people who were pursued by the soldiers of the emperor were hiding in the catacombs of Rome, but this is not so: no one lived in the underground labyrinths, where it is always dark, because this is simply impossible. Having experienced the wrath of the rulers, the Christians used abandoned quarries or private properties of the Romans who adopted the new faith to bury their loved ones separately from the pagans. Feeling safe, they dug passages in the tufa and expanded the already existing corridors, creating a huge network of labyrinths from 2.5 to 5 meters high. The porous rock is quite soft, crumbles easily, and it is easy to dig a whole system of transitions in it with an ordinary shovel or pickaxe.

Some facts about the burial in the galleries

On both sides of the corridors, Christians knocked out multi-tiered niches (locules) in the walls, in which the bodies of the dead were placed. Then a kind of tomb was walled up with stone slabs. The dead co-religionists were washed, anointed with incense, since Christians did not embalm the bodies, wrapped in a shroud and laid in a dungeon niche, covering it with bricks or a slab on which the name of the deceased and laconic epitaphs were carved. Often embedded in the wall

Recesses in narrow corridors were carved in several tiers up to five meters high. In the underground corridors, cubicles were cut down - side rooms, which were family crypts or burial places of popes and martyrs.

It is curious that the people who dug out the underground galleries, and subsequently kept the labyrinths in a satisfactory condition, were called fossors, and they were led by administrators appointed by the bishops. Many dungeons are named after them, for example, the catacombs of Callistus in Rome were named after the protodeacon Callistus, who became a pontiff. At the beginning of the 4th century, when Christianity was declared the official religion, all persecution of believers ceased, and the dungeons dug by them were recognized as official burial places.

Discovery of forgotten dungeons

The catacombs of Rome were considered a very important phenomenon in the life of the capital of the country, but after a century the labyrinths fall into disrepair, as they are no longer used for the burial of the dead. Hundreds of thousands of pilgrims flocked to the dungeons, which had turned into sanctuaries of martyrs. But soon, at the behest of the Roman bishops, the relics are removed and transferred to the city churches.

Deprived of the remains of revered saints, the galleries were forgotten until 1578, when the construction of the via Salaria road began and the first cemetery was discovered. So the catacombs of Priscilla, an aristocrat who came from a noble and respected family and owned a large plot of land, were found, on which underground burials appeared.

A large-scale study of the catacombs of saints in Rome takes place in the 19th century, and a great contribution to their study is made by the Russian artist Reiman, who painted about a hundred copies of the frescoes that have been preserved on the walls of the galleries. Since 1929, the collection and inventory of objects preserved in the tunnels began.

Catacombe di Priscilla

The Christian underground system is the most extensive of all, and the oldest of them is the beautifully preserved catacombs of Priscilla, which became a real sensation. They found unique samples of ancient art: wall paintings depicting scenes from the New and Old Testaments, colorful frescoes, the main character of which is the Good Shepherd, the symbol of Jesus Christ. And an important attraction of the Roman catacombs is a small room with inscriptions in Greek, where benches for funeral meals (Cappella Greca) were installed.

Of particular interest to scientists is a bright fresco made in the 2nd century, which depicts a woman in a bright crimson dress and a light veil. This is the oldest image of a praying saint.

You can get into the underground labyrinths located at: Via Salaria, 430, by city buses numbered 86 or 92. You need to get off at the Piazza Crati stop, and then follow the signs that say via Priscilla. Access to all the dungeons is possible only as part of an excursion group.

Catacombe di San Callisto

However, the catacombs of St. Callistus in Rome, which appeared in the 2nd century, are considered the largest Christian burial. Stretching for 12 kilometers under the Appian Way, they are a four-level labyrinth, which can be called the "city of the dead", because it has its own streets, intersections and even squares. In the underground galleries, which combine cemeteries from different periods of time, archaeologists are still working, and not all burials are open to visitors. Over the course of a long history, about 50 martyrs and 16 popes found their last shelter here, and for this the catacombs are called the main monument of Christian cemeteries.

The most popular crypt is the tomb (Santa Cecilia), where wall frescoes and mosaics are perfectly preserved. On the square with the name "Little Vatican" the Roman pontiffs and holy martyrs who led the church rest.

The underground cemetery, which was arranged by the deacon Kallistos, is recognized as the most famous catacombs of Rome. How to get to Catacombe di San Callisto located at Via Appia Antica, 110/126? City buses number 118 (you need to get off at the stop of the same name) or 218 (the final point of the Fosse Ardeatine route) will take you to the historical site.

Catacombe di San Sebastiano

The most accessible of all underground galleries are the four-level catacombs of St. Sebastian. Located at: Via Appia Antica, 136, they are much worse preserved than the rest. Once upon a time, pagans buried their loved ones in labyrinths, and by the end of the 2nd century, the consecrated necropolis became Christian. who challenged the emperor Diocletian, died in 298, and after the burial of his remains, the previously unnamed catacombs of Rome received their current name.

How to get into the unique tunnels where religious meetings were once held during the persecution of Christians? You can get to them by city buses at numbers 118 and 218, and you need to get off at the Cecilia Metella stop.

Attractive underground cemeteries for tourists

Tourists who have visited the underground galleries admit that it is difficult for them to describe the whole gamut of feelings at the sight of gravestones that appeared many centuries ago.

Gloomy deserted corridors, which are always quiet, evoke thoughts of imminent death, but the mysterious labyrinths that keep many secrets still attract visitors who love thrills. In the catacombs of Ancient Rome, untouched by modernity, everyone will touch the distant early Christian times.

There is no definite point of view regarding the origin of the catacombs. There is a hypothesis that they are the remains of ancient quarries or more ancient underground communication routes. There is also the opinion of Giovanni Battista de Rossi and his followers that the catacombs are an exclusively Christian structure, since their narrow passages are unsuitable for extracting stone from them, and the rock of the catacombs itself is unsuitable for use as a building material.

Burials in the catacombs were formed from private land holdings. Roman owners arranged a single grave on their plot, or a whole family crypt, where they allowed their heirs and relatives, indicating in detail the circle of these persons and their rights to the grave. In the future, their descendants, who converted to Christianity, allowed co-religionists to be buried on their plots. This is evidenced by numerous inscriptions preserved in the catacombs: [Family] tomb of Valerius Mercury, Julitt Julian and Quintilius, for his venerable freedmen and descendants of the same religion as myself» , « Mark Anthony Restut built a crypt for himself and his loved ones who believe in God". The underground passages corresponded to the boundaries of the estates and were connected to each other by numerous galleries, thus forming a kind of lattice (the catacombs of St. Callistus). Some catacombs were branches from the main passage, sometimes also several stories high.

The catacombs also included hypogeums- from Latin (lat. hypogeum) - premises for religious purposes, but with an unspecified function, as well as often a small dining room, a meeting room and several shafts for lighting (lat. luminare). The “Apostolic Ordinances” (c. 5th century) contain a direct reference to the meetings of early Christians in the catacombs: “ ... without supervision, gather in the tombs, reading sacred books and singing psalms for the reposed martyrs and all the saints from time immemorial, and for your brothers who reposed in the Lord. And instead of the pleasant Eucharist of the royal body of Christ, bring it to your churches and tombs...". One of the inscriptions found in the 16th century by Caesar Baronius in the catacombs of St. Callistus testifies to the stable tradition of worshiping in the catacombs: “ What bitter times, we cannot perform the sacraments in safety and even pray in our caves!».

Historical evidence

The description of Jerome complements the work of Prudentius written around the same period “ The Sufferings of the Most Blessed Martyr Hippolytus»:

"Decay" of the catacombs

Starting from the 4th century, the catacombs lose their significance and are no longer used for burial. The last Roman bishop who was buried in them is Pope Melchiad. His successor Sylvester was already buried in the Basilica of San Silvestro in Capite. In the 5th century, burials in the catacombs completely ceased, but since that period, the catacombs have become popular with pilgrims who wanted to pray at the graves of the apostles, martyrs and confessors. They visited the catacombs, leaving various images and inscriptions on their walls (especially near the tombs with the relics of saints). Some of them described their impressions of visiting the catacombs in travel notes, which are one of the sources of data for studying the catacombs.

The decline in interest in the catacombs was caused by the gradual extraction of the relics of saints from them. In 537, during the siege of the city by Vitiges, the tombs of the saints were opened in them, and their relics were transferred to the city churches. This was the first extraction of relics from the catacombs, subsequent records of chroniclers report larger-scale actions:

Discovery and study of the catacombs

Again, the Roman catacombs became known after May 31, 1578, workers engaged in earthworks on the Salar road, stumbled upon stone slabs covered with ancient inscriptions and images. At that time, it was considered that these were the catacombs of Priscilla (in fact coemeterium Iordanorum ad S. Alexandrum). Soon after the discovery they were buried under rubble and re-excavated only in 1921.

Later, the catacombs were explored by Antonio Bosio (c. -), who in 1593 first descended into the catacombs of Domitilla. In total, he discovered about 30 cementeria (Bosio did not excavate), he described the results of his work in a three-volume essay “ Underground Rome"(lat. Roma soterranea), published after his death. Bosio hired two draughtsmen who made copies of images from the catacombs. Their works were often inaccurate or erroneous: the Good Shepherd was mistaken for a peasant woman, Noah in the ark - for a praying martyr, and the youths in a fiery furnace - for the scene of the Annunciation.

Full-scale research work in the catacombs began only in the 19th century, when works devoted to their history and painting were published. Such works include the works of Giuseppe Marchi, Giovanni Batista de Rossi (discovered the catacombs of St. Callistus), the monumental work of A. Fricken " Roman catacombs and monuments of early Christian art"(1872-85). At the end of the 19th century, the Russian watercolorist F. P. Reiman (1842-1920) created over 100 sheets of copies of the best-preserved catacomb frescoes in 12 years of work.

In 1903, the book of the researcher Joseph Vilpert (1857-1944) “Painting of the Catacombs of Rome” (German) was published. Die Malerei der Katakomben Roms ), in which he presented the first photographs of frescoes from the catacombs (black-and-white photographs Vilpert personally painted in the colors of the original images).

Funeral rites

In the period of the II-IV centuries, the catacombs were used by Christians for religious rites and burials, since the community considered it their duty to bury fellow believers only among their own. The funeral of the first Christians was simple: a body previously washed and smeared with various incense (ancient Christians did not allow embalming with cleansing of the insides) was wrapped in a shroud and placed in a niche. Then it was covered with a marble slab and in most cases walled up with bricks. The name of the deceased was written on the plate (sometimes only individual letters or numbers), as well as a Christian symbol or a wish for peace in heaven. The epitaphs were very laconic: " Peace be with you», « Sleep in the peace of the Lord”, etc. Part of the slab was covered with cement mortar, into which coins, small figurines, rings, pearl necklaces were also thrown. Oil lamps or small jars of incense were often left nearby. The number of such items was quite high: despite the looting of a number of burials in the catacombs of St. Agnes alone, about 780 items were found, placed together with the deceased in the tomb.

Christian burials in the catacombs almost exactly reproduced Jewish burials and did not differ in the eyes of contemporaries from Jewish cemeteries in the vicinity of Rome. According to researchers, early Christian epitaphs (" Rest in peace», « Rest in God”) in the catacombs, the Jewish funerary formulas are repeated: bi-shalom, bi-adonai.

Fossors (lat. Fossorius, Fossorii). Also, their duties included preparing places for burials and mediation between sellers and buyers of graves: “ The land was purchased for the construction of a bisom for Artemisius. Value, 1500 folios, paid to Fossor Hilar, under the testimony of the Fossors of Severus and Laurentia". Their images are also often found in catacomb painting: they are depicted at work or standing with tools of their labor, among which stand out an ax, pick, crowbar and a clay lamp to illuminate dark corridors. Modern fossors participate in further excavations of the catacombs, keep order and guide scientists and those interested along unlit corridors.

Forms of burials

Name	Image	Description
niches (lat. Loculi, loculi)		Locules (literally "towns") are the most common form of burial in the catacombs. Designed for the burial of both one person and several (lat. loculi bisomi, trisomi…). They were made in the form of rectangular oblong recesses in the walls of the corridors of the catacombs or in cubes.
Arcosolia(lat. Arcosolium)		Arkosoliy - a low deaf arch in the wall, under it the remains of the deceased were placed in the tomb. Thus, the opening of the tomb was located not on the side, but on top. This more expensive type of burial has been known since antiquity. They most often buried martyrs and used the tombstone as an altar during the celebration of the liturgy. More common in cubicles than in catacomb corridors.
Sarcophagi(lat. Solium)		Refers to the Roman tradition of burial, later borrowed by Christians. Not typical for Jewish burials. Burials in sarcophagi in the catacombs are rare. Sarcophagi could also be placed in arcosolia.
Cubicles(lat. cubeculum) and crypts		Cubicles were small chambers located on the sides of the main passages. Verbatim cubiculum means " peace", rest for the sleep of the dead. The cubicles contained the burials of several people, most often they were family crypts. Cubicles were found, in which there are up to 70 or more loculi of different sizes, arranged in 10 or more rows.
Burials in the floor (lat. Form- "channel, pipe")		They are found in the floors of crypts, cubes, rarely in the main passages of the catacombs. Such burials are often found near the burial places of martyrs.

Types of catacombs

The most famous Roman catacombs are the following:

Christian catacombs

Catacombs of Saint Sebastian

Catacombs of Saint Agnes(Italian Catacombe di Sant "Agnese) - got their name from the name of the early Christian martyr Agnes of Rome and date back to the 3rd-4th centuries. There are no wall paintings in these catacombs, but many inscriptions can be found in two well-preserved galleries.

Above the catacombs is the Basilica of Sant'Agnese Fuori le Mura, built in 342 by the daughter of Emperor Constantine the Great, Constance. The relics of Saint Agnes, transferred from the catacombs, are currently kept in this basilica.

Catacombs of St. Callistus with open niches

According to their architectural plan, the Jewish catacombs practically do not differ from the Christian ones. The main difference is as follows: at first, not corridors arose, but separate crypts, which were later connected by passages. The passages are generally wider than in the Christian catacombs. Their walls are also decorated with frescoes depicting symbols and figures, for example, menorahs, flowers, animals (ducks, fish, peacocks), but among the drawings there are no images of scenes from the Old Testament.

Syncretic catacombs

Catacombs on Via Latina

Symbols and decor

general characteristics

The walls of about 40 catacombs (especially the walls of the crypts) are decorated with frescoes (rarely mosaics) depicting scenes from the Old and New Testaments, pagan myths, as well as various Christian allegorical symbols (ichthys, "Good Shepherd"). The oldest images include the scenes of the "Adoration of the Magi" (about 12 frescoes with this plot have been preserved), which date back to the 2nd century. The appearance in the catacombs of images of the acronym ΙΧΘΥΣ or the fish symbolizing it also dates back to the 2nd century. In the Jewish catacombs on the Appian Way there are images of the menorah. The presence of images of both biblical history and saints in the burial places and gatherings of the first Christians testifies to an early tradition of veneration of sacred images.

Other common symbolic images, partly borrowed from ancient tradition, in the catacombs include:

• anchor - an image of hope (the anchor is the support of the ship in the sea, hope is the support of the soul in Christianity);
• phoenix - a symbol of resurrection;
• the eagle is a symbol of youth your youth will be renewed like an eagle"(Ps. 102:5));
• peacock - a symbol of immortality (according to the ancients, his body did not decompose);
• a rooster is a symbol of resurrection (the crow of a rooster awakens from sleep, and awakening, according to Christians, should remind believers of the Last Judgment and the general resurrection of the dead);
• the lamb is a symbol of Jesus Christ;
• the lion is a symbol of strength and power;
• the olive branch is a symbol of eternal peace;
• lily - a symbol of purity (common due to the influence of apocryphal stories about the presentation of a lily flower by the archangel Gabriel to the Virgin Mary at the Annunciation);
• the vine and the basket of bread are symbols of the Eucharist.

Researchers note that Christian fresco painting in the catacombs represents (with the exception of New Testament scenes) the same symbols and events of biblical history that are present in Jewish burials and synagogues of that period.

Most of the images in the Roman catacombs are made in the Hellenistic style that dominated Italy in the II-III centuries, only the symbol ichthys is of oriental origin. According to Iosif Vilpert, when dating images, the manner and style of their execution is important.

Eucharistic bread and fish (catacombs of St. Callistus)

The early period (I-II centuries) is characterized by delicate, thin borders around the fields of frescoes, the use of light colors and the general pale pale background of the crypts, on which some frescoes seem to be monochrome. Gradually, the Hellenistic artistic style is replaced by icon-painting skill: the bodies begin to be depicted in a more material way, which is especially noticeable due to the ocher in the carnation, which makes the figures heavy. Art critic Max Dvorak believes that catacomb painting reflects the formation of a new artistic style: three-dimensional space is replaced by an abstract plane, the real connection between bodies and objects is replaced by their symbolic relationships, everything material is suppressed in order to achieve maximum spirituality.

Images of scenes from myths in catacomb painting are much less common (Demeter and Persephone, Cupid and Psyche). Often, the ancient tradition of depicting certain characters (including decorative motifs: jellyfish, tritons, eros) was adopted by Christians.

Pictures of Jesus Christ

In catacomb painting, there are no images on the theme of the Passion of Christ (there is not a single image of the crucifixion) and the Resurrection of Jesus. Among the frescoes of the late III - early IV centuries, there are often scenes depicting Christ performing miracles: the multiplication of loaves, the resurrection of Lazarus (there are more than 50 images). Jesus is holding a kind of "magic wand" in his hands, which is an ancient tradition of depicting miracles, also adopted by Christians.

Images of Oranta

Agapes

The fresco of the 2nd century with the image of agapa, discovered in 1893, is most interesting for the study of early Christian ritualism.

The number of loaves and fish depicted is reminiscent of the gospel miracle of the multiplication of loaves. From the analysis of images of agape, the researchers came to the conclusion that in the early Christian communities, believers received bread from the hands of the primate directly into their own hands, and then took turns drinking wine from the cup.

Inscriptions in the catacombs

Examples of catacomb inscriptions

The collection of inscriptions from the Roman catacombs, which currently consists of 10 volumes, began in 1861 by de Rossi, continued from 1922 by Angelo Silvagni, then Antonio Ferrois. Giovanni Battista de Rossi discovered the catacombs of Saint Callistus thanks to a fragment of a marble tablet with an inscription NELIUS MARTYR. The scientist suggested that we are talking about the martyr Cornelia ( CORNELIUS), which, according to de Rossi's sources, was supposed to be buried in the catacombs. Later, in the crypt, papa de Rossi discovered the second part of the tablet with the inscription EP (Episcopus).

Many inscriptions are found on loculae in Latin and Greek (Gr. ZOE- "life") languages. Sometimes Latin words are written in Greek, or there are letters from these languages ​​in one word. In the catacomb inscriptions there are names of types of burials: arcosolium (arcisolium, arcusolium), cubiculum (cubuculum), form, names of fossors, description of their activities.

Visiting the catacombs

Of all the catacombs of Rome, only 6 are open to visitors as part of an excursion, with a mandatory guide (the above Christian catacombs, as well as the catacombs of St. Pancras). The rest of the catacombs do not have electric lighting and can be visited with permission from the Pontifical Commission for Sacred Archeology. The most interesting are the catacombs of Saints Peter and Marcellinus (III-IV centuries) on Via Casilina.

In culture

Procession in the Catacombs of Saint Callistus

• Some episodes of the novel The Count of Monte Cristo by Alexandre Dumas the Father (Monte Cristo and Franz d'Epinay save Albert de Morser captured by robbers, Danglars is forced to give the money he stole to the robbers) take place in the catacombs of St. Sebastian.
• Henryk Sienkiewicz. The novel "Kamo come" (a meeting of Christians of the 1st century in the Roman catacombs is described, but such meetings did not begin until the second half of the 2nd century).
• R. Monaldi, F. Sorti."Imprimatur: To Print". Historical detective. M: AST, . ISBN 5-17-0333234-3
• Charles Dickens in "Pictures of Italy" Pictures from Italy) described his impressions of visiting the catacombs of St. Sebastian (the only ones known in the 1840s):

• The Pio Cristiano Museum in the Vatican is dedicated to the collection of early Christian works of art found in the Roman catacombs: marble pagan and Christian sarcophagi, statues, tablets with inscriptions in Latin and Greek.
• The Museum of Sacred Art in the Vatican Library (Italian Museo Sacro) contains artifacts from the Roman catacombs and churches: lamps with Jewish and Christian symbols, glassware, medallions.
• The Chiaramonti Museum in the Vatican presents many sarcophagi from the 1st-4th centuries.
• Part of the collection of the ancient period of the National Roman Museum is Jewish sarcophagi, tablets with inscriptions, a large number of artifacts from pagan tombs.

Notes

1. Fink, Joseph Die romischen Katakomben. - Mainz: Philipp von Zabern, 1997. - ISBN 3-8053-1565-1
2. Interactive map of Rome showing catacombs and hypogees. Retrieved February 13, 2009.
3. Golubtsov A.P. From readings on church archeology and liturgy. St. Petersburg, 1917. S. 73
4. Golubtsov A.P. Decree. op. S. 332
5. Golubtsov A.P. Decree. op. S. 333
6. Places of prayer meetings of Christians of the 1st-3rd centuries // Golubtsov A.P. From readings on Church Archeology and Liturgy
7. lat. Monumentum Valerii Mercurii et Iulittes Iuliani et Quintilies verecundes libertis libertabusque posterisque eoiiim at religionem pertinentes (pertinentibus) meam
8. lat. Marcus Antonius Restutus fecit ypogeum sibi et suis fidentibus in Domino
9. Popov I.V. On the veneration of holy relics // Journal of the Moscow Patriarchate. No. 1. 1997.
10. In original εν κοιμητηρίοις .
11. Apostolic Ordinances. VI:30
12. Barony. Church Annals
13. Zaraisky V. Two landmark discoveries
14. John Meyendorff The unity of the empire and the division of Christians. Chapter II. Church structure
15. Antonio Bosio
16. Fink, Joseph. - Mainz: vom Zabern, 1997.-p. 77 ISBN 3-8053-1565-1
17. Pokrovsky N.V. Painting of the catacombs (According to the ed.: Essays on monuments of Christian art. St. Petersburg, Liga-plus, 2000)